Reminder that Pantuvarali is Rakthi | Brinda & Muktha sings the padam Vaddante Vintiva
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- čas přidán 26. 07. 2024
- Pantuvarali was one raga that used to bore me for a very long time. It is only in the last couple of months that I discovered the beauty in the raga. Semmangudi and the Dhanammal family were two major factors for this.
Be it the Varnam (by Jayammal), or kritis, or padams (By Bala/Jayammal or Brinda/Muktha), I always felt that the rakthitvam in the raga was explored without any compromise by the Dhanammal family.
00:00 - AIR Announcements
00:15 - Pallavi
vaddaNTEnE viNTegA dAniNTIki pO
01:13 - Anupallavi
vaddaNTE vinaka dAni valanu jikki mEnucikki suddulanni telisiyuNdi haddu mIri dAniNTiki pO
04:09 - Charanam
padugurini paDakiNTilO kadalakanE dAcibeTTu
kodavatEra gANDranu tana kOkalO imidincu
mudamu mIra tanagoppuna muDikonu orulaku teliyaka
sadayuda mantula mArini sAmi nIku telisiyuNTi
Also listen to ms amma's sarasaksha paripalaya❤
Also 'Naradamuni Vedalina' of M.S. . She was masterful in Pantuvarali. Any kriti in that Ragam used to shine in her voice. 'Bhamini' and 'Narayana Namamulanu' neravals are evergreen ✨.
Super thaalaattu!
Such a soothing rendition. I’m particularly amazed at how the focus of this Pantuvarali is mainly centered around Sa-Pa-Sa with little emphasis on Dhaivatam and with minimal to no emphasis on Gandharam. Sure there is a lil emphasis on madhya sthayi gandharam, but it doesn’t even touch the Taara sthayi Gandhaaram. A lot of Pantuvarali alapana off late are focused on meandering around Taara sthayi Gandharam which totally feels out of place with the essential bhaavam of the raaga that is about invoking the Shringara rasam. Building on Taara sthayi gandharam gives it a very masculine effect, whereas I feel Pantuvarali is more of a soft, soothing raaga that is very fragile. The transition from Dhaivatam to Panchamam pidippu at 5:26 is a testimony to this! Thank you Shreeram, for sharing this gem! 😇
Thanks a lot for your detailed comment
A Ragam can be interpreted in different ways by different people. Pantuvarali is extremely vast and has quite many shades, this recording being one of them. Brindamma and Muktamma are, of course, geniuses and their expertise in Padams and Javalis is unquestionable. The other shades of Pantuvarali are thoroughly explored by the great M. S. Amma in her renditions of this Ragam. Sarasaksha and Naradamuni Vedalina of hers, in particular, are musical gemstones.
@@YashRakeshGawade Dear Yash, thank you for your comment. Although I understand where you are coming from, I feel there might be a slight misinterpretation of my comment on your part. Please let me clarify. Firstly, my comment was not even about individual artists and their ability to sing raagams; rather it was about the raagam Pantuvarali itself. In most of our major compositions in PantuvarALi by Sri TyAgarAjaswAmy and Sri MuthuswAmy Dikshitar (he called it kAsirAmakriyA), we do not see prayogas that use the taara sthayi gandhAram as a place to stop and expand ( like they don't use plain G in taara sthAyi as we use in the raaga alapanais today). And this padam too, is a testimony to that. So I was just commenting on how this padam also gives us an idea that PantuvarALi in the earlier days (may be a 100-200 years ago) was expanded more in the madhya sthAyi, than tAra sthAyi. But, off late we do see that sancharas that use tAra sthAyi gandharam as a place to stop and expand has come into vogue during our exposition of the raaga. How did this happen? So, as a music student and a rasikA, it was interesting for me to ponder how this raaga sounds essentially different (that it feels more softer and fragile to me) in these older compositions to the current aesthetic of PantuvarALi that we have (it feels more robust, energetic and powerful to me). Well, this also kinda subtly relates to the title of this video that says how this a reminder that PantuvaraLi is a rakthi raga. Though the evolution of this raaga over the years has probably made it into a more scalar kind of a raaga, these older compositions give us a different dimension that is non-linear and convoluted (that is, these compositions do not adhere to the strict SRGMPDNS approach and allow for more free flow). So, in essence, we both are in agreement here that a raaga can be interpreted in different ways by different people (🙂) - and only because of that the evolution of a raaga happens. It is not just the compositions that help us in our creative explorations but also the individual imaginations of the artists that push the boundaries of a raaga over time. But, as a student and a rasikA, it would be nice to know how a raaga has evolved over time, so we can then choose the aesthetic/feel that appeals to us. In my subjective view, after listening to this padam and also other compositons in PantuvarAli, I personally would not like expansion on tArasthAyi gAndharam as it feels out of place to me while connecting with the raaga (I like the fragile aspect of this raaga than the robustness). Hope this clarifies that my earlier comment was not about individual artists and their abilities. I do really appreciate you engaging with my comment. Thank you and yes, I am big fan of MS Amma's PantuvarALi too! ☺
@@sriBsai Oh no... I understood what you wanted to say. You are absolutely right when you say that Ragams change in presentation over the years. Of course, Ragams were sung quite differently in the era of the Trinity. I just wanted to point out that about Ragam Pantuvarali, M. S. Amma's renditions always featured quite many Tarasthayi prayogas. Her Alapana, Neraval and Kalpanaswarams all have brilliant Tarasthayi prayogas. Maybe modern musicians took inspiration from that. I believe a Ragam as vast as Pantuvarali can offer a range of emotive experiences. The older interpretation is beautiful but I also find the newer interpretation to be quite pleasant too. Pantuvarali's raktitvam, in my humble opinion, remains unchanged.
@@YashRakeshGawade Thank you for your insightful response, Yash. Your comment made me think a little deeper about raktitvam and wonder if at all there is any innate emotive quality to a raaga. I have been pondering on this question for a while. We always associate certain raagas with certain emotions like Atana with Veeram/confidence, SahAna with kArunya rasam/compassion etc. But, how true or valid is this? The other day I was listening to a lecture demonstration on rAga SahAna by Vidushi Smt. RS Jayalakshmi (veena artist), who mentioned that a few centuries ago SahAna probably used to have sAdharana gAndharam as opposed to antara gAndhAram (she infact sang an old geetham that completely had sAdharana gAndhAram). This was mind blowing to me, considering how much the sonic space of this raagam has changed over the years (not just taking in an anya swaram occasionally, but actually being completely overtaken by an anyaswaram). So, if we consider that a rAga evolves continuously, how fair is it for us to attach specific emotions to it? Of course, the matter of scope comes here as you mention. But, even then, is it possible that a rAga need not have any connotations of emotions attached to it, as it can be explored and enjoyed in a multitude of ways? In that context, what exactly do we even mean by raktitvam of a rAga - is it innate or is it imposed? I am just a student and I like pondering upon these questions. Would love to learn what you think about it. Thank you 🙂
All credits to the person who is instrumental in making you rediscover the beauty of this raga, no?
No doubt lol
which is ME...I've been telling you for years@@shreeraam_22 !!!